Press

ANDREW LIPTAK, io9: “The production is a stunning adaptation and it proves that Joe Hill and Gabriel Rodriguez’s horrifying graphic novel series is just as terrifying off the pages…When I first heard about how the books were being adapted, I was dubious: part of the appeal of the comics was their visual nature and really deliberate artwork (see Rufus’s imagined Squadron Strange, or the time when Bode turns into a Sparrow), and working from a really visual story seemed like it might be a bit of a stretch. My fears were unfounded: the story adapts well, thanks in no small part to the fantastic audio cast.”

BETH ANDERSON, EVP, AUDIBLE.com: “With outstanding performances by an all-star cast and a truly visceral soundscape created by AudioComics that breaks new ground in audio production, this truly immersive audiobook is sure to thrill fans of the series and new listeners alike.”

SFF AUDIO: “The story is both fascinating and horrifying, combining familiar haunted house elements with the surprising magic of the keys. Friendship, betrayal, good and evil, excellent writing, deep characters… it’s a great story as a graphic novel, and this production successfully captures it, the flawless cast and rich sound adding a new and welcome dimension to the whole.”

MURDERS, MONSTERS, AND MAYHEM on JENN’S BOOKSHELVES: “When I heard an audio production was in the works, I was a little concerned. I mean, how do you do an audio production of a graphic novel? Won’t you miss out by not having the visuals before you? When I saw the cast lined up for this production (Haley Joel Osment, Tatiana Maslany, Kate Mulgrew, Joe Hill, Gabriel Rodriguez, and Stephen King, as well as 50 additional voice actors) I knew this would be quite the experience. And it is!”

AMAZING STORIES: “Admittedly skeptical when news of an audio presentation of Locke and Key first emerged, it turned out to be a pleasant surprise. After all, how can a graphic novel succeed without the visual participation of co-creator Gabriel Rodriguez (though he does get to do some voice work along with Hill)? Well, like some of the mysterious doors in the key house, the mind’s eye can play some pretty crazy tricks on the audience. Fans who have already read the graphic novels might be able to visualize the action a bit better, but those who are new to the story will be just as entertained. Like the old radio theatre broadcasts, the sounds can be just as colorful and convincing to the ears as what the eyes can see. The talented multicast of voices kinda helps too.”

SUB-CULTURED: “Apprehension at listening to an adapted comic book versus an adapted a novel is understandable, as one wonders if something would be lost in transitioning the story from a visual medium to a purely audio format. Luckily those worries are dismissed withing minutes of listening. The effort in creating a higher production value is apparent as you listen, perhaps as a result of recording outside of a conventional venue. Peter Van Riet’s original score welcomes you to Keyhouse Manor with notes of foreboding, and makes the 13 hours of audiobook fly by. To help transition more fluidly, some scenes were briefly introduced by the narrator, and there were lots of neat sound effects, particularly for shadows during the Crown of Shadows arc. All together these helped replace a panel layout to better utilize your imagination when listening along.

“Overall, it’s a feast for your f***ing ears.”

MICHAEL PATRICK HICKS (Author, Convergence): “I found Locke & Key to be a completely engrossing audio-drama and an absolutely terrific listen. The acting is strong, and Hill’s writing, as expected, is completely top-notch. As an audio-drama, this sucker just works, and it works well. I was scared in all the right places, and my heart was racing during the brutal climax and left feeling exhausted in the wake the Locke family’s cataclysmic showdown with Dodge. I might have even, maybe, just a little bit, kind of teared up in the final moments because I was so damn attached to these characters and to this family. And although the graphic novels have been untouched thus far, this audiobook has made me aware of exactly how much greatness I’ve been missing, so I’ve ordered the final volume to complete my set of IDW Locke & Key hardcovers and hope to dive into them soon. This is a completely fantastic story, and Joe Hill himself is quickly becoming one of my absolute favorite writers that I can trust to turn out solid, quality work and whose stories I look forward to the most. If Locke & Key becomes one of my latest die-hard obsessions, well, I can blame this recording for it.”

CLUB PARNASSUS: “The emotional honesty of the story is supported by some very strong voice work; even the minor parts are memorable, and while some of the more prominently advertised celebrity cast members are hard to recognize (it doesn’t help that Tatiana Maslany is most famous for being chameleonic) nobody sounds out of place. (There are even cameos by Hill and Rodriguez, as well as Hill’s dad, Stephen King.) This is a production which has to keep a lot of plates spinning, as it were, and a lot of what really impressed me about it is just how well it pulls off the inherent challenges of the material.”

AUDIOBOOK REVIEWER: “Pick up this audiobook right now, especially if you are a fan of Joe Hill’s work. I suggest you pick up the graphic novels as well because they just add so much to the audio. This is definitely one of the best, if not THE BEST, audiobooks I have ever listened to. The ability to create an audiobook from a graphic novel sounds impossible, but this team has done it and I commend them wholeheartedly.”

MAJOR SPOILERS: “As far as adaptations go, this one is spot on. Everything from the first Molly Danger book is included in this audio production; all the characters, side conversations, and yes, even the tour through the Mollydome. For those who complain that faithful adaptations are hard to come by, Mighty does a good job of showing how a successful adaptation can be done. I do think that those already familiar with Molly Danger will get more out of the production than those who are coming on board for the first time.

“I love the Theater of the Mind, and the creators did an excellent job of bringing the world of Molly Danger to life between the ears. There’s solid acting from everyone. I was particularly impressed with Olivia DuFord as Molly. She brings energy and meaning to the character without it sounding like a young girl reading her lines. Too many times – especially when listening to audio drama podcasts – the acting is over the top throughout the entire production. Not so here. At times the acting is quite subtle, and even while listening to this project in the car with my two younger children, all the nuance and emotions of the characters comes through. This is a production you will want to listen to in surround sound or with both earbuds in your ears as the mixing of the piece really immerses the listener into the environment.”

GEEKQUALITY: “Olivia DuFord as Molly Danger manages to capture a perfect blend of childlike sweetness and sad world weariness that are to be expected from a 30-something living as an eternal pre-teen… There is a big cast of characters, from DART team members to the various Supermechs. A highlight is William Dufris as Austin Briggs, the pilot who befriends Molly. Briggs maybe a grown man with a wife and step-son, but he’s also a bit of a kid at heart, which sometimes manifests as breaking protocol during his missions. Dufris as Briggs gives him a little bit of reckless playfulness, but also a lot of heart.”

A YEAR OF JUBILEE REVIEWS: “With a house full of boys, super heroes are very constant in our home. It has been wonderful for my daughter to have a super hero who is female! She has so enjoyed listening to this adventure of Molly. It is definitely not just for girls either as my boys tuned in to the action packed adventure. This is a very well done audio drama and throws us back to the days of sitting around the radio and listening together as a family. I love these kind of audio productions to invoke imagination in the kids!”

THE BIBLIOSANCTUM: “We first met Molly Danger on Free Comic Book Day, but recently had the pleasure of rereading the story, accompanied by the very fun audio narration. I’m a big fan of audiobooks, but I had wondered how well narration would work for a comic book. Molly Danger, Episode One removed all my doubts with a full cast narration, complete with sound effects. My girls initially read along with the comic in hand, but soon enough, they were happily acting things out themselves.”

LITERARY GRAND ROUNDS: “I totally loved the way this production made me feel I was a part of Molly’s universe and it was a very enjoyable experience. The background musical support too aptly adds to the element of adventure and fun.”

GRAPHIC POLICY: “I’d definitely get it for a kid to listen to during a road trip or other point their mp3 player needs to be filled up with some entertainment. Molly herself is fantastic for kids, so being able to experience her adventures in as many ways as possible is a good thing.”

THE CHICAGO TRIBUNE: “The Starling Project is pure Jeffery Deaver, with a plot that twists and turns upon itself and a brilliant investigator at the helm of a manhunt, this time Harold Middleton, played by Emmy and Tony winner Alfred Molina. But The Starling Project is not a novel, it’s a full-cast performance produced by AudioComics for Audible, complete with dramatic music at scene changes and the sound of fists hitting flesh…this smart production makes full use of all that audio allows, employing actors who create distinctive voices — including enough nationalities for a mini United Nations — to prevent any listener confusion and provide depth to the personalities, even if two of the characters seem to have come straight from the Ministry of Silly Voices. Middleton leads a clandestine group of good guys who step in to solve the world’s problem when extragovernmental action is required. This time, they need to stop a shady character called the Starling in a plot that takes them from Mexico, to Washington, D.C., to Prague, Paris and Africa. In true Deaver style, there will be several misidentifications before the true Starling is finally revealed.”

ROCKINBEAR REVIEWS: “I listened to the entire performance through my closed-cup Sony MDR-7506 studio headphones. This experience was AMAZING!!! It is the audio version of surround sound in a movie theater. All of the dialog was clear. The scene-specific ambient noise in the background made perfect sense. The somewhat garbled radio communication was realistic.

“This is a fantastic production. While fairly short at just over four hours, the story is well written, with steady action, adequate character development, and good dialogue. The voice acting is superb. My recommendation is to get this to your ears as soon as possible, if you like thrillers and audiobooks. This production pushes the envelope of what is possible with audio drama. The combination of a good story, great voice acting and great production makes for a fantastic listening experience.”

RADIO DRAMA REVIVAL! “After preaching for years that audio drama needs more stuff that ‘feels’ like TV or movies, we have in The Starling Project an example of audiobooks behemoth Audible making a bold move into the audio drama space. The results put US-commercial audio drama back on the map and hopefully will lead to far more shows of its style and caliber in the future.

“The influence of mainstream British producers like Dirk Maggs and Big Finish on AudioComics is obvious. Rather than making ‘safe’ choices in regards to dialogue, use of sound, and music, they push the envelope whenever possible. Knowing that there still is a wide gulf between the expectations of audiobooks listeners (who expect to comprehend every word) and savvy audio drama listeners (who get immersed in the story world and try to follow a ‘scene’), (this) shows off how gutsy a move Audible has made.”

RUDY PANUCCI, POPCULT: “The Sasquatch, Big, is a well-educated genius. Molly the ghost is in denial about being dead. Chupacabra (or Choopie) is an immature tempremental dolt. Karl, or the Mothman, is just a lonely awkward guy who wants to have friends, and is also a red-eyed, winged harbinger of doom. A new member is brought in and meets the team before their adventure unfolds.

“That adventure makes up the rest of this audio presentation, and like the comic, it’s loads of fun light-hearted adventure without being slapstick comedy. The Perhapanauts is more serious than Ghostbusters, but not deadly serious like The X Files…This story establishes the team and gives us a great adventure with a nice twist at the end. It’s sure to whet your appetite for more Perhapanauts tales, which you can find in the graphic novels while you await the next Perhapanauts AudioComic.”

RON FORTIER, PULP FICTION REVIEWS: “All’s Fair in War is a superb audio treat with great writing, perfect acting; especially by Karen Stillwell as Ellen Patrick/Domino Lady and Peter Carini as McKane. The blues/jazz soundtrack is also a gem and easily sets the story’s atmosphere. If we have one complaint is that this is only the opening chapter in the series and ends much too soon, leaving us wanting a whole lot more. Axt and AudioComics have produced a top-notch audio recording that is pure pulp goodness. We recommend you order your copy now. You can thank us later.”

STEVE ENGLEHART (comics legend, Batman, The Avengers, Silver Surfer, Coyote): “When my oldest son was little, he told me he didn’t like black and white movies, and I told him that it’s not the medium, it’s the skill of the people using the medium that matters. From there he went on to silent movies, and opera…and radio dramas. The new Domino Lady is a fully professional radio drama, with all the skill of the 1940s and the technological superiority of the 2010s. This is not a scratchy MP3 made from an old acetate – this is radio drama at its finest, with real actors and real writers — so spend some evenings with TheDomino Lady.”

BROKEN FRONTIER: “As a radio play Titanium Rain could quite easily be listened to by someone unfamiliar with the source material and enjoyed as a gripping piece of audio drama on its own merits. However, I think it works best as complementary material to the book, adding an extra layer of insight and appreciation for its audience into this minutely detailed reality and the motivations of the characters that inhabit it. From that perspective questions of superfluity are easily dismissed.

My fervent hope is that this dip into the transmedia waters proves successful enough for Finney and Rocha to be able to revisit these characters again in the near future, in either format. Fully realised and cleverly conceptualised fictional environments like this don’t come around too often in comics. We need to appreciate them when they do…”

THE LOTTERY PARTY: “The entire production is phenomenal, with layers of sound measured so well that absolutely nothing gets lost in translation. Even with the banter between a group of soldiers, the listener can still hear the radio playing on in the background of their scene, or the white noise of traffic and computer bleeps among the channel-surfing of on the spot journalists reporting their fare. It all presents richly textured imagery, eye candy for the imagination to color by number.

“Special standouts were (Lance Roger) Axt in the lead, giving a mighty strong presentation for all others to follow (though yet still with some honest humility to the performance), and (Elizabeth) Knowelden contributing a touch of genuine sexiness to the warfare (along with some of the more insightful lines), and (Richard) McGonagle as the deep throat narrator, offering the knowing airs of a Walter Cronkite in full effect. And the musical score, written by Sharp, is simply outstanding. Available as its own collection, the score in many ways bridges the gap from electro to industrial, with some sequences harkening back to the kitschy fun of Golan-Globus themes. It’s inventive, moody, explosive, and sonically adventurous.”

PUBLISHER’S WEEKLY: “Following a band of genetically altered fighter pilots during a global conflict, this impressive audio production follows Alec Killian and his fellow pilots as they discover how they were created, what makes them tick, and what their purpose is in this almost ceaseless war. Boasting thrilling and realistic sound effects, a musical score, and a dynamic full cast, this is an engaging listen that rivals the best classic radio dramas. Based on a comic book series, this production’s only major flaw is that the transitions between scenes are sometimes jarring and difficult to follow without visual cues. Still, fans of comics and listeners who love radio dramas will find a lot to like in this entertaining sci-fi thriller.”

GIL T. WILSON, GIL T.’s PLEASURES: “When you think about comics you think of the intense graphics helping to tell the story, which always intrigues me about how that gets translated into audio form. There are a couple of audiobook companies that do it right and based on the awesome work I’ve heard, the AudioComics company will be one on my list for any future releases.

“AudioComics paints the background, which would normally be done with graphics, with a complete 360 degrees of sound. The explosions the weapons fire and the special effects fill the air just as the graphics would fill the background. These aren’t cheesy effects either. I was listening in my car at one point in the story when the jets were flying and I had to ease off my gas pedal because I felt like I was in the jet as the battle progressed. During the explosions, through my Bose Wave Radio (via aux input), would cause the walls in the room to rumble. This one was a fantastic aural experience.”

DIRK MAGGS (Award-winning Director/Producer, The Hitchhiker’s Guide to the Galaxy for BBC Radio): “The AudioComics ‘movie in sound’ based on the bestselling graphic novel by Josh Finney and Kat Rocha is a high-octane example of how visual a medium audio theatre really is. Starting with a pitched battle in a future war that is all too believable and creating a range of engaging characters whose stories intertwine, AudioComics’ production values never fall below exceptional and the pace is full throttle. One of the best examples of immersive entertainment in a creative field undergoing a huge renaissance at the moment.”

TOM LOPEZ (ZBS Foundation): “Now this is one incredible production, and a great story too. Don’t just take our word for it (we doubt you would anyway), but listen to a few minutes and hear for yourself what an exceptional piece of work this is.”

FRED GREENHALGH/RADIO DRAMA REVIVAL!: “Strap in, crank it up, and let it fly, this is one smokin’ hot production.” Hear the Titanium Rain special on Radio Drama Revival!, featuring selected scenes and interviews with The AudioComics Company and creators Josh Finney and Kat Rocha!

MICHAEL COLBERT (comics/screenwriter, creator of 01Publishing’s Crazy Mary): “If you like your stories smart, intense, well written with crisp dialogue and a hard core concept that comes across smooth this is the story for you. Science fiction/cyberpunk/war story that elevates the genres it’s working in. The graphic novel is amazing and the audio drama replaces all the visual intensity of the book with an aural experience worth the price of admission. You feel the bullets slamming into the jets, the pull of G forces on your chest and a living breathing world inside your ears.”

PATRICK McEVOY (comic artist, Starkweather: Immortal): “As a fan of good science fiction AND audio plays, I’ll say that this one hits on both counts! Based on the excellent graphic novel of the same name, the Titanium Rain audio drama is an outstanding use of the medium. Excellent acting, writing, sound design and music throughout make this a truly gripping and entertaining experience.”

CORISSA BAKER, corissabaker.com: “The exciting graphic novel Titanium Rain is excellently retold in this gripping audio drama produced by the Audio Comics Company. The listener is taken into the philosophical debates of Alec Killian, into the depths of a future warscape, and up into the high-tech cockpit of the F-35X ”Hellcat” as seen in the art of the original work. As one who has been listening to a lot of audio dramas I have to say that I am thoroughly impressed with the quality of the Titanium Rain Audio Drama. I was so taken away with it that I was ready to hit the replay button immediately after it ended. In fact, I’m listening it to it again now.”

SF CROWSNEST: “This is not something to listen to in the background, that would dishonour the people who made it and it’s got to be enjoyed with mind focused on the sound, in a room with nothing else attacking the senses apart from the CD in your audio system…this is a very good audio drama and one to be relished. If you have experience of only audio books, this is definitely nothing like that. It’s not like a DVD. It’s a unique experience on its own and one to recommend.”

RADIO DRAMA REVIEWS ONLINE: “Titanium Rain is not for the faint-hearted; but nonetheless proves how radio drama provides the ideal medium for presenting epic dramas at minimal cost, with the varied sounds encouraging listeners to use their collective imagination.”

JOSH FINNEY DISCUSSES TITANIUM RAIN WITH BLEEDING COOL: THE BOOK, THE AUDIO PRODUCTION…AND THE CONTROVERSY WITH THE CHINESE GOVERNMENT… JUST CLICK HERE!

RUDY PANUCCI, POPCULT: “Dramatic audio presentations, like comics, have the advantage of being able to recreate bygone eras without busting the budget. This production is spot-on…a great value for over forty minutes of rollicking old-school adventure.”

BOBBY NASH (Author, The Domino Lady; Secret Agent X; Evil Ways): “Battle for LA is team-up heaven for pulp fans. This one is a must listen.”

GIL T. WILSON, GIL T.’s PLEASURES: “I think I have just found the perfect combination of some of my favorite things; UFO conspiracies, pulp magazines, comic books and audiobooks. This audio production combines all these into one great production that keeps you hanging on to every sound and leaves you wanting more. You may even find yourself dodging bullets.”

ROBERT HAYNES, OPPORTUNITY LOL: “Opportunity LOL has a solution to your next long car drive, purchase AudioComics’ Starstruckon CD…”

RUDY PANUCCI (PopCult, Charleston Gazette): “The Starstruck Audiocomic is considerably more evolved than a traditional radio drama. At times I was reminded of the radio incarnation of Hitchhiker’s Guide To The Galaxy, and at other times the frenetic pace and dense action reminded me of The Firesign Theater. Jokes fly by so fast that repeated listenings will be warranted. The Starstruck Audiocomic is a real kick. It’s also the healthiest way to read comics while driving. I’m really looking forward to whatever Audiocomics decides to do next.”

EVAN WATERS, CLUB PARNASSUS: “Starstruck’s translation to the aural medium is superbly done. It’s a lush and charming sci-fi comedy which has a lot on its plate but somehow manages to avoid a spill into incoherence…and I do want to say, if there’s a stage play out there featuring the wild and ribald adventures of four female space rangers, why is this not performed as often as The Sound of Music? This is just what you need to get people going to the theatre again.”

THE LOTTERY PARTY: “Noted cartoonist Scott McCloud once wrote about the gutter spaces between comic book panels inviting the reader to fill in the blanks, so to speak, and this “audio movie” absolutely possesses that exact same pull. In defense of audio dramas, having heard this work I just don’t think even a live-action film version could do as much justice to the imagination eased out from the mind by this brilliance.

“Art in its highest aesthetic value challenges us and provokes us, to whatever degree and in whatever capacity. I sincerely believe that, contrary to the tenets of a capitalism-enthused creative industry, not every story can so readily cross mediums from one to another, as all have their own particular strengths and weaknesses which can too easily be flustered in the translation syntax. Comic books as trial screenplays or novels adapting movies, or whatever the trend this minute, all deny the intent of the creation’s original form as well as disrespecting the mediums themselves, with variations almost universally watering down the message.

“But that’s not at all the case here. While mediums can never really literally be interchangeable, Starstruck boldly shows that different mediums can in fact play into each others’ strengths and weaknesses, expanding upon each other and uniting together to tell an even richer ideal than any one might do on its own. Such a grandiose feat requires truly artisan conception and direction and presentation, and such an accomplishment is most certainly delivered by these fine folks in this recording. Verily – honor to the mind that replicates their pattern.”

TOM LOPEZ (ZBS Foundation): “Funny and sophisticated…you can tell they sure had a lot of fun doing this.”

FRED GREENHALGH/RADIO DRAMA REVIVAL! on WMPG FM: Hear the Starstruck special on Radio Drama Revival!, featuring selected scenes and interviews with a very tired Lance Roger Axt and Elaine Lee! “A great example of taking work from another medium and making it audio drama… I highly support it!” – Fred Greenhalgh.

CHRONOGRAM MAGAZINE: “The cast of AudioComics’ radio play version has a blast chewing intergalactic scenery in Firesign Theatre mode.”

TYM STEVENS, RockSex: “Many have heard of the Starstruck play but few have seen it. The series is most known by its comic stories, which are all actually prequels to the play. The AudioComics Company remedies this with their timely new adaptation of the play as an audio play. This finally brings the play, and the dimension of sound, to the general public. Now fans used to the visual side of Starstruck – from Kaluta’s art, Moyer’s color, or Sean Smith’s stage photos – can finally hear the stage personalities, sound effects, and Dwight Dixon’s original score.

“The audio play captures all the lunacy of the original play as it rebounds through Sci-Fi chestnuts through a chandelier. What’s it like? Imagine the city-smart sass of Princess Leia in Star Wars, and with most of those male parts played by women. The play is Sci-Fi through the funhouse mirror of Firesign Theatre or Douglas Adams: ramped-up, some crazed vamp, a little camp. I say, buy it now, buy it often!”

JON WITMER, THE DANGER DIGEST: “Bringing the stage play into audio form was without question the right way to go. For one thing, I’m always suspicious of adapting brilliant comics into other media. More importantly, though, the stage play’s story was appropriately contained for a, well, play. But don’t let that fool you – if there’s an aural equivalent to the comics’ dense visuals, this is most certainly it. Just as the comics’ layers of detail reward multiple reads, so too does the audio play reward multiple listens. Indeed, it’s impressive to hear how the storytelling devices used in the comics are translated to the radio play form. A rich use of sound effects creates a detailed, variegated aural landscape complemented by Dwight Dixon’s pitch-perfect score.

“And where each issue of the comic would incorporate ‘excerpts’ from ‘historical’ accounts like Musing on the Events Leading Up to the Great Change and Ordering Anarchera in order to provide readers with pertinent bits of backstory and effectively flesh out what feels like a very real and lived-in multiverse, in the audio play, an omniscient narrator (voiced by Simon Vance) occasionally speaks up to season the narrative with similar background information.

“For anyone unfamiliar with Starstruck, I recommend you get acquainted first with the comics. But then, just as fast as you can, treat yourself to the radio play, and allow the sounds to flood your mind’s eye with visions of Kaluta’s art, Moyer’s colors and Lee’s indelible characters. It’s loud, it’s raucous, it’s baffling, sexy, hilarious and so much more – in short, it’s Starstruck. And it’s not to be missed.”

WEREGEEK, THE DISCRIMINATING FANGIRL: “Who would think that the fate of the galaxy would hinge on a load of phone books hiding a cache of secret information? The juxtaposition of the mundane and laughably ludicrous reminds me very much of Douglas Adams. And there’s plenty for the reference spotter to enjoy. I only started writing them down in Act 2, but I caught nods to and parodies of Star Trek, Doctor Who, Christopher Walken, Woody Allen, Walter Cronkite and The Wizard of Oz, just to name a few…I’d recommend Starstruck the audio comic to anyone who’s a fan of The Hitchhiker’s Guide to the Galaxy, pulp sci-fi, or just general goofy space operas.”

DAB OF DARKNESS: “Why I Read It: Surfers meet aliens and save the world: even I had to know what this was all about. What I Liked: cool tech; aliens; constantly exciting; the cover art is gorgeous (even though the book is a bit silly). Who I Recommend This To: Did you like Bill & Ted’s Excellent Adventure? Then you probably want to give this a try.”